„mkv“ Movie Midnight Family

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Star=Juan Ochoa, Fer Ochoa Genres=Crime director=Luke Lorentzen duration=1 h 21 Minutes Countries=Mexico. Movie Nattens anglars. Movie Nattens anglars saint félix. I love Ikea. My boyfriend takes me on dates to ikea just so we can walk around and plan our dream house! He always gets 5 hotdogs and I usually nibble a bit of his! No meatballs though! Ive headed down south today and now sat in my travel lodge watching the vlog and enjoying an evening to myself.

Old People: Dont Stare! Its rude! Also Old people when they see somebody with blue hair: insert thumbnail. | Matt Zoller Seitz December 6, 2019 The night comes alive in "Midnight Family, " Luke Lorentzen's film about a private ambulance service in Mexico City. This is one of the great contemporary films about the look and feel of a big city after dark, luxuriating in the vastness of almost-empty avenues lit by buzzing streetlamps. It's a real-life answer to fiction movies like " Taxi Driver, " " Bringing Out the Dead, " " Collateral, " " Nightcrawler " and " The Sweet Smell of Success. "  And yet, despite the film's careful attention to images and sounds—which is somewhat unusual in nonfiction, a mode that too often relies on verbal summaries, infographics, and talking heads—Lorentzen never allows "Midnight Family" to become an empty stylistic exercise. He stays tightly focused on his main characters, the Ochoa family, as they scramble to survive in a brutal, unregulated economy. Advertisement The Ochoas live and work in a city with nine million people but only 45 government-operated ambulances. Their ambulance is nominally run by a father, Fer, who has health problems and seems profoundly depressed (some of the film's most haunting images are silent closeups of his face lost in thought). But the real boss is Fer's 17-year old son Juan, who usually takes the lead in treating patients, dealing with finances and official regulations, and arguing with cops who hassle them in hopes of shaking loose a bribe. Juan also acts as an adjunct father to his little brother Josué, who gets frustrated at their hard existence (there's an argument over how many cans of tuna they can afford to buy) but would rather be on the job with his family than attend school.  It's a rough life. The Ochoas seem to live in the ambulance more so than in their small, cluttered apartment. A lot of the Ochoas' patients can't or won't pay them for their labor. They must compete with other ambulance services to get to a scene first, even street-racing a rival in a sequence that's reminiscent of the moment in " Gangs of New York " where the crews of two private fire trucks brawl in front of a burning house. Every month is a financial crap shoot.  The filmmaker, who shot and edited the movie in addition to directing and producing it, seems to have taken his cues from an earlier era of documentary cinema, represented by directors like the Maysles Brothers ("Salesman, " " Gimme Shelter ") and D. A. Pennebaker (" Don't Look Back "). The movie captures moments of astonishing intimacy, not just with the Ochoas but with their patients, the police, and the citizens they interact with from moment to moment. The camera looks at people and places and lets us think and feel things, rather than constantly and clumsily trying to manage our reactions.  There's implicit criticism of government ineptitude and corruption and the viciousness of profit-driven life, particularly when it comes to healthcare, but these concerns emerge organically from the situations the director shows us. The tone is empathetic but clear-eyed, presenting the world's indifference to struggle and suffering as a hard fact, as immutable as the winter draft that chills the interior of the ambulance until Juan asks his dad to shut the doors.  There's no music. The movie doesn't need it. It has traffic sounds, barking dogs, roaring auto engines and squealing tires, and the screams of injured people nearly drowning out the reassurances of paramedics trying to stop the bleeding. The sense of place is nearly overwhelming, and the editing finds little ways to re-emphasize it, such as holding on an empty room or ambulance interior for a beat or two after people have exited the frame. All the world's a stage, we're mere extras upon it, and there's no way to know if anyone's watching the play. Reveal Comments comments powered by.

For screenings and tickets Directed by Luke Lorentzen Produced by Kellen Quinn and Luke Lorentzen Producers: Elena Fortes and Daniela Alatorre Contact: krquinn[at] luke. lorentzen[at] Publicity: Jenna Martin, jmartin[at] Sales: Autlook, Salma Abdalla, salma[at] AWARDS: Special Jury Award for Cinematography, Sundance Best Film, Guadalajara International Film Festival Best Director, Guadalajara International Film Festival Premio Guerrero de la Prensa, Red de Prensa Mexicana Special Jury Mention, F:act Award, CPH:DOX Best Documentary, Hong Kong International Film Festival Cine Latino Documentary Audience Award, MSPIFF Grand Prix, Kaliningrad Film Festival Special Jury Mention, Calgary Underground Film Festival Special Jury Prize for Cinematography, Montclair Film Festival Audience Award, Cine Las Americas TRT International Documentary Awards, Turkey, Third Place Bravery Award, Mammoth Lakes Film Festival Grand Jury Award, Sheffield Doc/Fest Top Prize, Underhill Fest, Montenegro Grand Jury Prize, Gimli Film Festival Best Mexican Documentary, Guanajuato Film Festival Best Documentary, Spirit of Freedom, Jerusalem Film Festival Best Mexican Documentary, DOQUMENTA, Queretaro Special Jury Mention, Monterrey International Film Festival Grand Prix, Message to Man Film Festival, Saint Petersburg Russian Press Prize, Message to Man Film Festival IFFS Prize, Message to Man Film Festival Special Jury Mention, Zurich Film Festival Best Documentary, Bergen International Film Festival IDA Documentary Awards, Winner, Best Editing IDA Documentary Awards, Nominee, Best Feature IDA Documentary Awards, Nominee, Best Cinematography Cinema Eye Honors, Best Film Nominee Cinema Eye Honors, Best Cinematography Nominee Cinema Eye Honors, Best Production Nominee Cinema Eye Honors, Unforgettables, Juan Ochoa, Nominee Golden Frog for Best Documentary, EnergaCAMERIMAGE Best Documentary, Films from the South, Oslo Maysles Brothers Award, Special Jury Mention, Denver Film Festival FIPRESCI Rellumes Award for Best Director, Gijón Film Festival Best Film, WatchDocs International Film Festival, Warsaw SELECTED PRESS: "Outstanding... Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, “Midnight Family” unfolds with such velocity that it may take a while for your ethical doubts to catch up to what’s happening. When they do, they leave you gasping. " – Manohla Dargis, New York Times Critics' Pick “Arguably the most exhilarating documentary to come out of Sundance this year, Midnight Family follows the Ochoa family—the gruff but compassionate Fer and his two underage sons, Juan and Josué—at intensely close range on these Sisyphean missions of mercy. “ – Museum of Modern Art and Film Society of Lincoln Center Included in the “10 Best Movies of Sundance 2019" "A deft mix of big-picture doc-making and intimate moments... not to mention a wild—and remarkably eye-opening—ride. ” – David Fear, Rolling Stone “This 81-minute masterpiece will change the way you look at documentaries forever; its style reads like an action movie, its themes like a socio-political drama, and, yet, it still is very much a work of non-fiction, with a camera always exactly positioned to capture a society on the brink of moral collapse. " – Jordan Ruimy, The Playlist “Profound and thrilling cinema verite filmmaking. The film is impeccably crafted by Luke Lorentzen… What matters most here is Lorentzen’s intuition—he knows during many stunning moments just where to put the camera in such close quarters, letting us observe as harrowing drama and cinematic poetry unfolds… 'Midnight Family' is extremely visceral in the best way. ” – Nick Allen, Roger Included in “21 Must-See Movies” at Sundance "An intimate verite documentary... the Ochoas emerge as fascinating embodiments of a country working overtime to correct its shortcomings and keep the lights on. This bracing U. S. competition documentary is poised to provide a personal window into the fast-paced mayhem of Mexico after dark. " – Eric Kohn, Indiewire FESTIVAL SCREENINGS: Sundance Film Festival, Park City, January 2019 Cartagena International Film Festival, March 2019 Guadalajara International Film Festival, March 2019 Ambulante Mexico, March-May 2019 CPH:DOX, Copenhagen, March 2019 Hong Kong International Film Festival, March 2019 Lost Weekend, Winchester, VA, March 2019 New Directors/New Films, MoMA, Lincoln Center, March 2019 DocVille Belgium, Brussels, March 2019 Houston Latino Film Festival, March 2019 Full Frame Documentary Film Festival, Durham, April 2019 Minneapolis International Film Festival, April 2019 Sarasota Film Festival, April 2019 ACT Human Rights Festival, Fort Collins, April 2019 San Francisco International Film Festival, April 2019 Night Visions, Helsinki, April 2019 Freep Film Festival, Detroit, April 2019 Dallas Film Festival, April 2019 DOC10, Chicago, April 2019 International Film Festival of Uruguay, April 2019 HotDocs, Toronto, April 2019 Calgary Underground Film Festival, April 2019 IFF Boston, April 2019 Riverside Saginaw Film Festival, Michigan, April 2019 TRT Documentary Days, Istanbul, April 2019 Kaliningrad Film Festival, April 2019 Cine Las Americas, Austin, May 2019 Montclair Film Festival, New Jersey, May 2019 EDOC, Quito, May 2019 Seattle Film Festival, May 2019 Mammoth Lakes Film Festival, May 2019 Krakow Film Festival, June 2019 Greenwich Film Festival, June 2019 Transylvania International Film Festival, June 2019 Sydney Film Festival, June 2019 Nantucket Film Festival, June 2019 Sheffield Doc/Fest, United Kingdom, June 2019 Curitiba International Film Festival, June 2019 Underhill Fest, Podgorica, Montenegro, June 2019 AFI DOCS, Washington, D. C., June 2019 Biografilm, Bologna, June 2019 Shanghai Film Festival, June 2019 Rooftop Films, New York City, June 2019 LA Latino Film Festival, July 2019 Semana de Cine Contemporáneo, Aguascalientes, July 2019 Taormina Film Festival, July 2019 Taipei Film Festival, July 2019 Maine Film Festival, July 2019 Durban International Film Festival, July 2019 New Zealand International Film Festival, July 2019 Guanajuato International Film Festival, July 2019 Gimli Film Fest, July 2019 Jerusalem Film Festival, July 2019 Traverse City, July 2019 Lima Film Festival, August 2019 Sakhalin on the Edge, August 2019 Stronger than Fiction, Canberra, August 2019 Melbourne International Film Festival, August 2019 DokuFest, Kosovo, August 2019 Lighthouse International, New Jersey, August 2019 Monterrey International Film Festival, August 2019 Martha's Vineyard International Film Festival, August 2019 Camden International Film Festival, September 2019 AFI Latin American Film Festival, September 2019 Message to the Man, St. Petersburg, September 2019 Festival de Cine México, Alemania CineMA, September 2019 Athens International Film Festival, September 2019 El Gouna International Film Festival, Egypt, September 2019 Helsinki International Film Festival, September 2019 IDFF Flahertiana, September 2019 Festival de Cine en el Desierto en Sonora, September 2019 Zurich Film Festival, September 2019 Vancouver International Film Festival, September 2019 Bergen International Film Festival, September 2019 Cineuropea, Santiago de Compostela, September 2019 Foro de Cineastas, Tamaulipas, September 2019 Black Canvas, Mexico City, October 2019 Brisbane International Film Festival, October 2019 Viva Mexico, Paris, October 2019 Film Fest Tuscon, October 2019 Peoria Film Festival, October 2019 FilmFest Cologne, October 2019 Hamptons International Film Festival, October 2019 Central Scotland Documentary Festival, October 2019 Lateinamerikanische Filmtage, Germany, October 2019 Tallgrass Film Festival, October 2019 Morelia Film Festival, October 2019 Latin American Doc Showcase, Puerto Rico, October 2019 True/False Community Screening, Colombia, October 2019 Vino Verite, Iowa City, October 2019 Hot Springs Documentary Film Festival, October 2019 Rockaway Film Festival, October 2019 Jio Mami, Mumbai, October 2019 Ânûû-rû Âboro Festival, New Caledonia, October 2019 Inconvenient Films, Lithuania, October 2019 Doctober, Pickford Film Center, Bellingham, October 2019 Teatteri Unio, Finland, October 2019 Unorthadocs, Wexner Arts Center, Colombus, October 2019 Cork Film Festival, Ireland, October 2019 Virginia Film Festival, October 2019 Viennale, Vienna, October 2019 Denver Film Festival, October 2019 Windsor Film Festival, October 2019 Stockholm International Film Festival, November 2019 Brattleboro Film Festival, November 2019 Movies from the South, Oslo, November 2019 DOC NYC, November 2019 Camerimage, Poland, November 2019 KCRW - The Document, Los Angeles, November 2019 Gijon Film Festival, Spain, November 2019 RIDM, Montreal, November 2019 IDFA, Amsterdam, November 2019 Festival Margenes, Spain, November 2019 Sevastopol Film Festival, Crimea, November 2019 Guangzhou Documentary Film Festival, November 2019 This Human World, Vienna, December 2019 Watch Docs, Poland, December 2019 Havana Film Festival, Cuba, December 2019 Festival del Puerto, Oaxaca, December 2019 William and Mary Global Film Festival, January 2020 Budapest International Documentary Festival, January 2020 Americana Film Festival, Barcelona, March 2020.

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Movie nattens c3 angular 6. I watched the movies here. It's awesome. SUCH A GOOD VIDEO! Lmao 10/10 I need this game. Movie Nattens anglards de. Youd think Emily Blunts character would look out for things on the ground after stepping on a nail in labour. In Mexico City's wealthiest neighborhoods, the Ochoa family runs a for-profit ambulance, competing with other unlicensed EMTs for patients in need of urgent care. In this cutthroat industry, they struggle to keep their financial needs from compromising the people in their care. Documentary Action Crime Luke Lorentzen Hedgehog Films 1091 Media Midnight Family release date for Cinema December 6, 2019 2 Months Ago (US) Release Dates! Report Date / Submit Product Report Date / Submit Product Midnight Family was released on Cinema 65d ago in the US. Blu-ray TBA Confirmed Cinema December 6, 2019 Confirmed DVD TBA Confirmed VOD TBA Confirmed Blu-ray TBA Confirmed Cinema TBA Confirmed DVD TBA Confirmed VOD TBA Confirmed Show Full List We will only notify you about the most important info & release updates Notify me when Midnight Family is available. Already a member? Login Here Image Gallery Midnight Family release date for Cinema December 6, 2019 2 Months Ago (US) We will only notify you about the most important info & release updates Notify me when Midnight Family is available. Already a member? Login Here Release Dates! Report Date / Submit Product Report Date / Submit Product Midnight Family was released on Cinema 65d ago in the US. Blu-ray TBA Confirmed Cinema December 6, 2019 Confirmed DVD TBA Confirmed VOD TBA Confirmed Blu-ray TBA Confirmed Cinema TBA Confirmed DVD TBA Confirmed VOD TBA Confirmed Show Full List Image Gallery We will only notify you about the most important info & release updates Notify me when Midnight Family is available. Already a member? Login Here.

When his sister said 'faceshot' after the brother said pleasure a man. Makes you think what have she done. “The park ranger found a bike. No boy.” Sounds familiar... The pizza combos are my favorite. I love jordan and audrey. I was expecting him to turn into a creep. Lock her in his shed and kill her. Guess he was too convincing in Dexter.


The documentary Midnight Family is set in a place that’s both familiar and strange: an ambulance. The film follows members of the Ochoa family, who live and work in Mexico City, where they operate a private ambulance. The population of Mexico City is roughly 9 million, but the government operates fewer than 45 public ambulances to serve the citizenry, and so the Ochoas — along with many others — have come up with a way to help fill the gap. They spend their nights looking for injuries and accidents, rushing to the scene to get patients to a hospital before some other ambulance company shows up. But they’re often left in the sticky situation of having to ask sick and injured people for money, and that’s never easy. And thus, the Ochoa family is barely scraping by. Midnight Family is a compassionate, even funny portrait of a family that genuinely cares about its patients and has to navigate the balance between helping people who need it and being able to pay for its own basic necessities. It’s the first feature film for documentarian Luke Lorentzen, who’s only 26 but managed to nab an award for the film’s cinematography at Sundance this year. (Full disclosure: I was on the jury that awarded it to him. ) I caught up with Luke last June in Sheffield, England, where Midnight Family had its UK premiere. We talked about the long process of making the movie, the difficulty of shooting inside an ambulance, and the challenges and benefits of being an American making a film about a Mexican family. The following excerpts of our conversation have been lightly edited for length and clarity. Midnight Family captures the Ochoa family in their ambulance. 1091 Alissa Wilkinson You’re not from Mexico. How did you end up making a film about a Mexican family working and living in Mexico City? Luke Lorentzen I was living in Mexico City already. I moved there like a week after graduating from college. I was living with a Mexican friend for four years who grew up there, and it was kind of a spontaneous thing: “ Let’s go there and see if I find a film. ” I met the Ochoa family just parked in front of my apartment building, and in a spontaneous moment, [I] asked them if I could ride along for a night, mainly because I was curious about their family’s dynamic. Like, what is a family-run ambulance like? And then, on that first night, I saw the ethical questions, and the adrenaline, and was pretty excited about making a movie about them. Did you know a lot about for-profit ambulances in Mexico before you met the Ochoas? I didn’t know anything about it. It’s something very few people know about. If you need an ambulance once in your life, that’s a lot. So, [the lack of public ambulances in Mexico City] has become this egregious example of corruption and government dysfunction, but it hasn’t gotten as much attention as it deserves. And when it has gotten attention, it’s often been mistreated patients making a fuss about private ambulances. Even just getting the number of government ambulances that are working was really complicated. [The government] reports having two or three times more ambulances than they actually have, and I had to go to every station and count them to find out that what they were reporting was not accurate at all. Or they had that many once, but two-thirds didn’t have engines in them. So you had to do some good old-fashioned shoe-leather reporting. Yes. There’s so few ambulances, it took me only a few hours. There’s only two organizations that the government funds for emergencies and health care. How did the Ochoas get into the private ambulance business? I spent three years filming, so I slowly got closer and closer to them, and learned more each night that I was there. The Ochoas’ ambulance is an expired ambulance from Oklahoma that was shipped down to Mexico, where they bought it. That’s the story with a lot of these. You see a lot of ambulances that have foreign text on them, often from the US. One of the ambulances that they chase a lot is bright green and comes from the UK. It looks like it’s really close quarters in that ambulance, and you were crammed in there shooting with them for years. That seems really challenging. Were you shooting alone? Yeah, it was just me. It started that way because of how the funding was. And it’s how I had done my other films. Then it quickly became clear that that was probably the best way to do it. I ended up shooting it with two cameras. One was mounted on the hood of the ambulance, and then I had another camera in the back of the ambulance. You really need these conversations that happened between the driver and the people in the back. It was dynamic. But it was an enormous amount of equipment. I knew that if I could physically get it to the ambulance at the start of the day without an assistant, then I could manage it throughout the night. Figuring out how to juggle all that was a lot. And everyone was wearing a wireless microphone. I know they’re not really equivalent, but it sounds a little bit like the unpredictability and high pressure that goes along with making a reality TV show. Yeah. What saved me is that it wasn’t that unpredictable. Once I was set up in the ambulance, I knew that the way in which people would move around it would be almost identical every night. That allowed me to make some really specific visual choices. The movie didn’t look like this for the first 70 percent of the footage — I had to learn how to make a film, and I was saved over and over again by the repetition of their work. The look of the film is noteworthy — it’s cinematic. My hope for it, visually, was to create an image-based, scene-based story.... What excited me from the very beginning was that I could make a vérité doc that operated with a high energy level, with excitement, and that could pull people in so many different directions, from humor to tragedy. It was just all there. All I had to do was film it and put it together properly. That’s so rare — you usually need to do so much digging. Did being a white non-Mexican present challenges? Were there any advantages? Yeah. At the end of the day, the whole thing rests on my relationship with the Ochoas, making sure we had a real relationship that goes two ways — that they were as connected to me as I was to them. That took three years to happen. We submitted a cut to Sundance in 2017 and didn’t get in, and [we] decided to take an entire additional year [to work on it]. In that year, about 80 percent of the movie as it is now was actually shot. I think my job when I’m trying to make a film like Midnight Family is to decide, can I connect with people in a meaningful way that’s not just about the movie, but something bigger than that? If I can do that, I start to understand the culture better. They will correct my wrong assumptions. I’ve been in work-for-hire situations where we can’t take the time or there isn’t the willingness to form that connection. That’s when the question of who’s telling whose story really gets more complicated. Right. Because it’s their story, but you’re, in a sense, the author. Also, our Mexican producers would probably say that they felt a Mexican journalist [or filmmaker] might have had a harder time connecting with the Ochoas than I did. They were curious about who the hell I was, and got a kick out of me riding around with them as this American guy who made them look cool. I don’t know if that’s totally true — I think, knowing the Ochoas, that they would have let anyone in who was willing to ride along with them. That’s why they’re so special. So the film is about a very specific relationship between me and the Ochoas. The Ochoas in Midnight Family. I have to say that when I first started watching it, I figured it would be an exposé on corruption in the medical field or something. But really it’s a movie about a family, and it’s almost a dark comedy at times. It’s cool that you saw elements of that. Different people take different stuff from it; the comedy is sometimes harder for people to take in. In Mexico, it works very much as a dark comedy at times. In the US and here in the UK, I think people are quicker to get a little bit deeper into the ethical questions. That’s a bit funny, when you think about it. A lot of American entertainment has centered around characters in medical settings, like Grey’s Anatomy and ER. It feels like people should be primed for both the comedy and drama that happens in the medical world. People are especially shocked by how much money plays into the decisions people make about their medical care in the movie. I had a doctor come up to me after a screening in New York who worked in an ER in Baltimore. He was like, “We are making the same financial decisions about people’s lives in our ER every night. ” That’s problematic, but it’s happening everywhere in the world where governments are not thinking about the relationship between money and health care. People are going to make decisions about their health care and hospital visits based on what they can afford. Yeah. I think about the film as showing two forms of survival: The Ochoas are trying to survive, and the patients are trying to survive. And at each accident scene, those two kinds of survivals bump up against each other in increasingly complicated ways. The Ochoas have two goals: to save people’s lives and to make a living. That can’t be easily done at the same time. Sometimes their patients are victims, but the Ochoas are also victims of the system, trapped and left with this menu of decisions that are shitty. That’s what’s remarkable about the film: You can see the double-edged sword of altruism. They really seem to care about their patients, while also having to ask them for money before treating them. That’s what’s so fascinating. When you put good people into a broken system, the things they end up needing to do are really complicated. The Ochoas are good people. They were so generous and warm with me. Then you see them do things in a certain situation that make you nervous [like asking for money before treating an injured patient]. The first time that that happened, I was really conflicted. I didn’t have an edited film to guide me through it, the way audiences do now. Midnight Family opened in limited theaters on December 6.

Movie nattens c3 angular 7. Esme the answer is your age it never goes down I love you guys hope you have a nice evening. When you're in your friend's Minecraft world and you're just walking around, until he suddenly gives you levitation 100 That's immediately what i thought when i saw the intro. Movie nattens ä. Guests Expected Director Luke Lorentzen and producer Kellen Quinn are expected to attend all screenings. Description The Ochoa family runs a hair-raisingly frenetic private ambulance service in Mexico City. Director Luke Lorentzen captures the madness of their curbside negotiations—the service they provide is an add-on to Mexico’s under-resourced public health system—and the truly life-and-death drama of their everyday existence in a thrilling vérité style. Most of all, we become part of the remarkable Ochoa clan, with their big hearts, business savvy, and a remarkable sense of humor in the face of their chosen harrowing profession. “If it bleeds, it leads — and pays the bills. That’s the uneasy truism and slow-boiling moral of the gripping documentary Midnight Family, about a household of ambulance workers. The title isn’t metaphoric (or not exactly), but refers to the Ochoas, who operate one of the many private ambulances that race through Mexico City. Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, Midnight Family unfolds with such velocity that it may take a while for your ethical doubts to catch up to what’s happening. When they do, they leave you gasping. ” — Manohla Dargis,  The New York Times Director Luke Lorentzen A graduate of Stanford University, Luke Lorentzen made his directing debut with the short Santa Cruz del Islote, winning the Festival’s Best Bay Area Short Golden Gate Award in 2014. He made his feature documentary directing debut with New York Cuts (2015). Film Details Year 2019 Language Spanish Runtime 81 Country USA/Mexico Luke Lorentzen Producer Kellen Quinn, Luke Lorentzen, Daniela Alatorre,
 Elena Fortes Editor Cinematographer Music Los Shajatos Print Source.

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Midnight Family



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